Here is how I work: when I think that a film needs to have a principal theme, I search for a melody. I have a very strange melodic gift: melodies come to me effortlessly. So I write melodies-thirty, forty, fifty-then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide. That happened one time with Jacques Demy for the duo of the twins [in Les demoiselles de Rochefort]: I went to his house in Noirmoutier to play 35 possible themes for him.

I have a very strange melodic gift: melodies come to me effortlessly.

Here is how I work: when I think that a film needs to have a principal theme, I search for a melody. I have a very strange melodic gift: melodies come to me effortlessly. So I write melodies-thirty, forty, fifty-then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide. That happened one time with Jacques Demy for the duo of the twins [in Les demoiselles de Rochefort]: I went to his house in Noirmoutier to play 35 possible themes for him.

I would listen to something on the radio and try to tap out the melody, then the harmonies.

Here is how I work: when I think that a film needs to have a principal theme, I search for a melody.

To play piano is a significant part of my life, my existence. It fulfills a very physical & spiritual need for me.

I insist on a Steinway for my recordings, my concerts and my home. It is the only piano I want to hear my music played on.